The Sharp Shorts scheme aims to identify and support through training, 1-2-1 meetings, funding and mentoring the most exciting filmmaking talent in Scotland in the early stages of their career.
In April 2023, we extended an invitation to writers, writer/directors, and filmmaking teams comprising writers, directors, and producers to submit one-page outlines of their innovative short film concepts for the fourth iteration of Sharp Shorts. 12 ideas were selected to take part in further development, supported by industry experts and the Short Circuit Talent Executives, to take their project from idea to script.
In early October 2023, the 12 teams pitched their project to a panel that was formed by Short Circuit Talent Executives; Alice Ojha, Development Executive at BBC Film; and Alice Shone, Programmer at Tribeca Film Festival, for the chance to receive production funding to make their film.
The following 6 films are today announced as the selected projects:
Writer/Director: Kirsty McLean; Producer: Saffia Sage
Synopsis: Grappling to be the centre of her dad’s attention, ABBY (12) agrees to help him sell frozen microwave meals – but when he dumps her outside the pub to babysit SANDY (8), Abby’s feelings of rejection erupt into a violent outburst against someone who seems to have everything she doesn’t.
Writer/Director: Sacha Kyle; Co-Director: Victoria Watson; Producer: Rhona Drummond; Music Producer and Composer: Giles Lamb
Synopsis: Embark on a captivating journey to the moon to discover the absurdity of our existence and the importance of human connection in this surreal dream-like animated adventure.
Writer/Director: Hannah Kelso; Producer: Danielle Goff
Synopsis: It’s Meghan’s first day on the job as a home carer. She’s left alone to visit the elderly Bonnie who has a refreshing, yet challenging approach to her personal care.
Writer/Director: Emma Ramsay; Producer: Michaela Barton
Synopsis: Polly’s been dumped and she’s done something drastic: she’s cut out her own heart. Literally. Now, it’s up to best friend Yasmin to convince Polly to embrace her broken heart and swallow her own pain. Again, literally.
Writer/Director: James Ley; Producers: Jack Cowhig and Laura McBride
Synopsis: Alan and Blair’s first date is going so well that Alan goes to wash his willy in the gents in anticipation of a blow job on the way home, however doing so opens a portal to a terrifying speakeasy a mile under Glasgow from which there seems to be no escape.
Writer/Director: Erica Monde; Producer: Isabella Bassett
Synopsis: Ainsley works at a thunderous factory by the sea, attempting to drown out the cacophonous chimes, groans, grinding, banging, and echoes their body makes seemingly without reason. However, their daily ritual is disrupted when a new co-worker Simon arrives.
The selected teams will each receive up to £25,000 each to produce their film. Teams will also take part in intensive production training, and will be paired with an established Producer, Director or Writer who will mentor the team to help them to deliver their final film.
These talented filmmakers represent the bright future of Scottish cinema, and we couldn’t be more thrilled to be part of their journey. With our support, they’ll receive invaluable guidance, mentorship, and resources to help bring their cinematic visions to life.
Miriam Newman, Talent Executive at Short Circuit, said: “Along with the growing team at Short Circuit, we are delighted to announce the fourth year of Sharp Shorts production awards, supporting new and exciting Scottish filmmaking talent to collaborate and share their visually ambitious stories with audiences at home and internationally.”
Kieran Hannigan, Head of Scripted at Screen Scotland said: “The standard of applications this year was higher than ever. The six chosen projects are a rich and diverse range of high-quality projects that confidently announce distinct filmmaking voices with bright futures.”
Since the launch of Sharp Shorts in May 2020 the Short Circuit team and pool of external readers have assessed over 1200 submissions for the scheme. 56 short film projects have received development support and 31 projects have been awarded funding.
Stay tuned for updates as these projects evolve and move closer to production. We’re confident that they’ll captivate audiences far and wide with their creativity and storytelling prowess.
Featured photo credit: Celine Antal from Sharp Shorts funded film Just Jackie
Top Row L-R: Emma Ramsay, James Ley and Maryam Hamidi
Bottom Row L-R: Raisah Ahmed, Stef Smith and Tena Štivičić
The First Features scheme is for writing, writing/directing and producing talent from all across Scotland who have bold and captivating fiction projects that possess a strong theatrical ambition and have the potential to resonate with audiences worldwide.
For this round, we received 64 eligible applications that were initially assessed by our pool of external readers. Following an extensive assessment process involving Screen Scotland’s Scripted team and the Short Circuit Talent Executives 6 projects have been selected by to receive development support and funding.
Now, without further ado, let’s meet the talented filmmakers and their exciting projects that are set to leave an indelible mark on Scotland’s screen sector:
Writer: Tena Štivičić; Director: Sam Hodges
Synopsis: A celebrated choreographer runs a dance company with his wife, a former dancer now business partner. In the twilight of their careers they face the changing tide of opinion towards questions of power, loyalty and artistic discipline.
Writer/Director: Maryam Hamidi; Producers: Alysia Maciejowska and Shirine Best
Synopsis: Part possession horror, part comedy-drama, a genre bending story about inherited trauma. When Iranian immigrant, Agdas is made the subject of her director daughter’s first funded documentary feature film, her state of mind begins to unravel.
Writer/Director: Emma Ramsay
Synopsis: A gentle, young father, desperate to provide for his family, is forced to work down the coal mines of 1950’s Scotland. Here, he is terrorized relentlessly by his bullish co-workers until a Faustian pact with a malevolent monster gives him the strength to fight back.
Writer/Director: James Ley
Synopsis: Gordon is homonormative and fears he might be pathologically boring until he meets Cumpig and Manpussy at a sex party in Leith. When they tell him about Europe’s biggest gay sex party in Berlin, Gordon obviously wants to go, but can he really transform into a sex pig?
Writer: Raisah Ahmed; Co-Writer: Mahsuda Snaith; Producer: Shirine Best
Synopsis: Haunted by the disappearance of her childhood best friend, housebound Ravine Roy’s world ignites with the arrival of someone inhabiting her friend’s old bedroom. As long-buried memories resurface, and the malevolent ’Soul Drinker’ returns, she must confront her past in order to break free.
Writer: Stef Smith; Director: Khaled Spiewak; Producers: Misha McCullagh and Alan McLaughlin
Synopsis: 1986. Industrial devastation engulfs Britain. An era of greed and axed social services. In the attic of a Scottish prison, four prisoners hold an officer hostage for five days. A published welfare manifesto in the national paper will guarantee the officer’s safe release. Days pass and tensions grow between the men. They’ve risked it all to expose the truth of prison conditions and have the voices of prisoners heard, was it worth it? Based on real events.
We support projects from initial idea to fully polished draft and successful applicants can expect to receive financial support towards their project along with creative/editorial support from the Short Circuit Talent Executives and the Scripted team at Screen Scotland.
Interested in applying for First Features? We have extended the deadline for the second round of First Features 2023/24. The new deadline is 10am on Monday 8th January 2024. Click here to find out more and apply.
Top Row L-R: Kaljeven Singh Lally; Paisley Valentine Walsh; Kirsty McLean; Derek Anderson; Alice Clark; Sacha Kyle
Bottom Row L-R: Writer/Director: Hannah Kelso; Jack Goessens; Emma Ramsay; Stuart Langfield; James Ley; Erica Monde
In April 2023, we extended an invitation to writers, writer/directors, and filmmaking teams comprising writers, directors, and producers to submit one-page outlines of their innovative short film concepts for the fourth iteration of Sharp Shorts.
The response was overwhelming, with over 315 applications of an exceptionally high standard. The competition was fierce, highlighting a captivating range of diverse genres – from heartwarming romantic comedies to intense psychological dramas and thought-provoking speculative fiction. The pool of talent and originality displayed in the submitted projects was nothing short of inspiring.
Following a meticulous assessment process that engaged a panel of readers and external assessors, we are excited to announce the 12 visionary teams that will collaborate with our dedicated Short Circuit Talent Executives to refine and develop their short films.
Here are the 12 projects that have been shortlisted:
Writer/Director: Kaljeven Singh Lally; Producer: Jena Hunter
Synopsis: A young Sikh man battles with the call to adventure and the offer of three wishes a mysterious Stranger brings.
From the team: “We can’t wait to begin working with the Short Circuit team and to further develop the project. We’re excited to make the most of this opportunity at this stage of our careers!”
Director: Paisley Valentine Walsh; Writers: Nathalie Ahmadzadeh and Joanne Thomson
Synopsis: 5-year-old Rita is struggling to fit in after moving to Scotland when she meets Elspeth, but just as their friendship begins to blossom, a traumatic event forces Rita to navigate the margin between the world of children and adults.
From the team: “We are over the moon to have Awake selected for Sharp Shorts and to have the opportunity and support to develop our project to its highest level.”
Writer/Director: Kirsty McLean
Synopsis: Stuck selling frozen microwave meals for her father, twelve-year-old Abby becomes engrossed by a group of dangerously free teens, causing a heated eruption of hormones and extreme agitation.
From Kirsty: “I am really excited to be developing my film through Short Circuit. The Sharp Shorts programme will allow me to continue pushing my creative vision whilst furthering my storytelling skillset through collaborative workshops and executive/industry support. To be provided time to develop a short film within the industry is an extremely rare but necessary step to creating a successful career. I am really looking forward to further building upon my network of Scottish filmmakers and developing a script which will captivate future audiences.”
Writer/Director: Derek Anderson; Producer: Joel Hewett
Synopsis: As the cost of living crisis peaks, lifelong friends Willie and Harry grapple with the harsh realities of a broken system and the burden of care.
From the team: “Cold is a film that we’re deeply passionate about and being selected for development helps us to bring the story to life. We both have a strong belief in building characters who tell social stories, and we’re really excited to work in a supportive and encouraging environment where we can have an open and honest dialogue and make the film the best it can be.”
Writer: Alice Clark; Director: Jemima Levick
Synopsis: An overloaded woman and her stepdaughter go on the hunt for a missing Nike worth a week’s groceries in this vibrant retelling of Cinderella.
From Alice: “I’m thrilled to be selected, alongside my incredible director, with a project close to our hearts that we love and believe will resonate with many. I can’t wait to get into the collaborative process of script development with the Short Circuit team and work towards bringing our story to screen.”
Writer/Director: Sacha Kyle; Co-Director: Victoria Watson; Producer: Rhona Drummond; Music Producer and Composer: Giles Lamb
Synopsis: Embark on a captivating journey to the moon to discover the absurdity of our existence and the importance of human connection in this surreal dream-like animated adventure.
From the team: “We are particularly excited that our project Distance to the Moon has been shortlisted as part of the Sharp Shorts 2023 programme and very much look forward to the development time, and script editing advice, we will receive over the next few months from the Short Circuit Team of Execs. Our film explores human spirit, narrated by music, within a surreal animated world – and we can’t wait to make it!”
Writer/Director: Hannah Kelso; Producer: Danielle Goff
Synopsis: It’s MEGHAN McKINSLEY’s (35) first day on the job as a home carer. When she’s left alone to visit the uncooperative BONNIE (78), Meghan struggles to provide the elderly woman with the care she requires.
From the team: “We are thrilled to take our project into development and bring our script into the world, taking full advantage of the generous development process and expertise of the Sharp Shorts team so that we can fully interrogate the story and characters and find deeper meaning within our piece. To further explore the dichotomy of death in its wounding pain and freeing beauty. To celebrate the kindness of strangers and portray the remarkable selflessness and joyous humanity we see in our communities every day. We’re also excited to be collaborating on Kelso’s first venture as a Director.”
Writer/Director: Jack Goessens; Producers: Reece Cargan and Rosanagh Griffiths
Synopsis: After receiving a phone call from his estranged mother, a young transman returns to his parental home for the first time since his transition. While trying to find out if his dad realizes who he is, he’s taken on a surrealist journey through his childhood via his dad’s dementia-affected memories.
From Jack: “I’m looking forward to working with the Sharp Shorts 2023 team to develop my short Living Room. It’s an ambitious project for our team and a good stepping stone towards our feature Boifriend.”
Writer/Director: Emma Ramsay; Producer: Michaela Barton
Synopsis: Polly’s been dumped and she’s done something drastic: she’s cut out her own heart. Literally. Now, it’s up to best friend Yasmin to convince Polly to embrace her broken heart and swallow her own pain. Again, literally.
From Emma: “I’m dead excited to have a project as personal as Poly Baggage interrogated through the Sharp Short development process. It’s an ambitious genre piece I’ve pulled up out of my guts and I can’t wait to get my hands dirty with Michaela and the development team. Let’s rip the thing open and see what we find!”
Writer/Director: Stuart Langfield
Synopsis: See You in The Dark is a dissection of traditional masculine friendship set against the backdrop of a 1980s Catholic residential school.
From Stuart: “I’m so excited to be a part of Sharp Shorts 2023, and to follow along from some incredible films that have been made in Scotland these past few years. Having created a number of self-funded projects in the past, this is such a great opportunity to take my work to the next level, and to reach a wider audience with it. My project is a film I’ve revisited a number of times over the past 2-3 years and is a story I deeply connect with, and so I’m really excited to dive into development to keep pushing and refining our script and the world and characters we’ve already created.”
Writer/Director: James Ley
Synopsis: Alan and Blair’s first date is going so well that Alan goes to wash his willy in the gents in anticipation of a blow job on the way home, however doing so opens a portal to a terrifying speakeasy a mile under Glasgow from which there seems to be no escape.
From James: “I’m thrilled to be developing Sleazy Tiger with Short Circuit and to be in with a chance of translating my joyous and irreverent directing style from stage to screen for the first time. It’s really exciting to get to queer an unexpected genre and to look at Alan’s terrifying journey through the lens of horror comedy.”
Writer/Director: Erica Monde
Synopsis: In this queer, poetic love story, Ainsley works at a thunderous factory by the sea, attempting to drown out the cacophonous chimes, groans, grinding, banging, and echoes their body makes seemingly without reason. However, their daily ritual is disrupted when a new co-worker Simon arrives.
From Erica: “I was very excited to be selected to participate in Sharp Shorts 2023 and to start exploring the process of developing my first short fiction film. It means a lot to be offered the unique opportunity to have Short Circuit’s support and guidance in creating a space to develop such a personally inspired story.”
We are immensely proud of the projects selected for development and extend our congratulations to these talented filmmakers. After pitching for a production award in September 2023, up to six projects will be selected to receive up to £25,000 of funding. The journey towards bringing these captivating stories to life has just begun, and we are excited to be part of this creative expedition.
Meet Wilma Smith – Talent Executive
Wilma’s working background is in supporting and teaching through film which includes many years facilitating community arts projects for people of all ages, FE college and university lecturing and prior to joining the Short Circuit team, she was the Filmmakers Programme Manager at GMAC Film, developing new talent through commissioning scheme Little Pictures. She is the Co-vice President of Screen Talent Europe network which promotes international collaborations and filmmaker talent camps.
Wilma brings a wealth of experience and a keen eye for spotting emerging talent to Short Circuit. With a proven track-record in film production and a passion for discovering fresh voices, she is the perfect fit for nurturing the next generation of filmmakers. Wilma’s extensive industry connections and dedication to promoting inclusivity in film will undoubtedly bring new perspectives and creativity to our projects. Alongside our other Talent Executive, Miriam Newman, she will be the guiding force in identifying promising filmmakers and ensuring that their visions receive the support they deserve.
From Wilma:
“I’m delighted to join the team and to be working with new and existing talent across the Short Circuit and Screen Scotland slate. Bringing my own experiences and creative input as a writer/director and animator, I’m excited to fundamentally support and nurture emerging talent as they pursue their filmmaking journeys in the Scottish screen sector and further expand development opportunities internationally, through my connection with Screen Talent Europe.”
Meet Jennifer Hunter – Project Manager
Jen Hunter is an experienced Project Manager. Previous to joining Short Circuit Jen lead the Culture Counts project which was responsible for raising the profile and the understanding of the value of the wider culture sector across Government and Parliament. While at Culture Counts, Jen established the CPG Creative Economy and the CPG Culture and Communities networks at the Scottish Parliament, because networks provide us with an opportunity to get together to create change. Previous to Culture Counts Jen worked across entertainment unions, including undertaking an organisational review for the Scottish Artists Union and working for over eight years as an organiser for the Musicians’ Union within Scotland and Ireland.
Jen is interested in film due to the power that stories have to change narratives, particularly as we now live within a world of damaging misinformation, film plays a vital role in building understanding and empathy, particularly within complex issues. Her impressive project management skills and passion for supporting creative endeavours make her an invaluable asset to Short Circuit. With her wealth of experience, Jen will play a crucial role in overseeing the successful execution of our training and funding initiatives. Her ability to juggle multiple tasks with precision and dedication will ensure that every project will receive the attention it deserves, from development to completion.
From Jen:
“I am looking forward to joining the Short Circuit team and contributing to the growth of Scotland’s film industry. I am eager to collaborate with talented filmmakers and deliver projects that make a positive impact on our communities and the wider film landscape.”
Please join us in giving a warm welcome to Wilma and Jen! With their valuable contributions, we are confident that Short Circuit will continue to be at the forefront of Scotland’s film community, championing filmmakers and fostering innovation.
Keep up to date with our upcoming opportunities and events on Twitter, Instagram and Facebook.
As staunch advocates for diverse Scottish voices and emerging talent, we couldn’t be prouder to see these remarkable films making their way to new audiences. Through our support and guidance, we strive to provide a platform for filmmakers from all backgrounds and perspectives, ensuring their stories are heard and celebrated. The selection of these five films at EIFF 2023 reaffirms our commitment to championing diversity within the Scottish film industry.
The following films will be taking part in the Scottish Short Films programme on Sunday 20th August:
A.V. Van Morayo Akandé / Scotland / 2023 / 12 min
Two film-fanatic sisters try to reconnect with their estranged deceased father by selling his vintage porn collection.
BLACKWOOL Eubha Akilade / Scotland / 2023 / 15 min
On her first day at a high school in rural Scotland, a London teenager is targeted for her afro hair by a cocksure class bully and must harness her inner power.
The Möbius Trip Simone Smith / Scotland / 2023 / 17 min
A road trip pushes a dysfunctional family to the brink after their journey descends into a claustrophobic hallucinatory nightmare.
The Singer Cora Bissett / Scotland / 2023 / 20 min / British Sign Language, English with English subtitles
In the loud streets of Glasgow, deaf song-writer Joe meets busker Andy. The two learn to communicate over their love of music and realise together they can create something unique.
The following film will screen as part of the Animation Short Films programme on Wednesday 23rd August:
Living With It Holly Summerson / United Kingdom / 2023 / 7 min
Perfectionist Lee must adapt to the imperfect reality of living with an illness – brought to life as a chaotic supernatural flatmate: Bug. A dark comedy animated short about accepting the long-term effects of illness.
The Edinburgh International Film Festival is renowned for showcasing exceptional cinema and bringing together industry professionals, film enthusiasts, and curious audiences from around the world. The inclusion of these supported films in the festival’s programme is an outstanding achievement, signifying the talent and potential of Scottish filmmakers.
From Holly Daniel, Scottish Short Films Programmer:
From the absurd to the poignant, this programme showcases the challenges impacting all generations whether that be in relation to geography, circumstance, grief or good old family dynamics. Across writers, directors, producers, on-screen talent and crews, this exciting mix of films represents the amazing variety of filmmaking talent coming out of Scotland today.
We extend our warmest congratulations to the filmmakers whose works have been selected for EIFF 2023. This milestone is a testament to their hard work, talent, and unwavering passion. We eagerly anticipate the screenings and the opportunity for audiences to experience these compelling stories firsthand.
If you’re attending any of these screenings, let us know on Instagram, Facebook or Twitter.
When did your interest in filmmaking start and what were you doing before you became a filmmaker?
As an actor I have always been interested in what happened after you finishing shooting. When I was at drama school I set up a short film company with a few of my pals in order to try different roles in the industry. We would work on a script and film it over a weekend. The films were terrible as none of us had a clue how to step into roles on the other side of the camera but the experience was life changing and made me want to create more of my own work. The cross over of skill sets can only be a good thing as all experiences influence each other and therefor helps develop your craft from all sides.
What made you want to apply for Sharp Shorts?
I am super passionate about writing for screen and performing in my own work. However I had only written for theatre and really needed the guidance and lessons in order for me to develop skills for screenwriting. Short sharps offers that support in bucket loads. The amount I have learned from the team and workshops they provide though the program have been crucial in my development as an artist.
Tell us a bit about your Sharp Shorts-supported film.
Soul is a coming of age story rooted in the electric sub culture of Northern Soul. We had the most amazing time shooting the film. Community and opportunity was the beating heart of the story but also the way we wanted to shoot therefor we had members of our crew step into their first ever roles on set. I know how important it is to give people their first experience working on a job and wanted to create a supportive environment for others to learn and flourish. We shot in the town I grew up in which created an amazing buzz for the local community and had Northern Soul dancers from all around the country join us. Between takes we were spinning records and dancing. One of the dancers expressed, “this has been the best day of my life” which was so moving for me to hear. It was important to involve the community and people who gave me my identity through the soul scene and let them be apart of the film. I am so excited to share it with them.
What did you learn through taking part in Sharp Shorts? How was your experience working with the Short Circuit team?
The team are truly incredible. They made me feel so supported at every step of the development journey. The workshops have really been incredible and I have learnt a lot not only about being a filmmaker but also it has influenced the way I work as an actor.
What was your creative process? How did you get ready to make your film?
I had 3 different creative processes for Soul as I had 3 different roles on the film. Writing, acting and then directing. It was a huge amount of responsibility but I was ready for it due to the preparation and hard work I had dedicated to making sure the shoot would run smooth. Flipping between being in a scene on camera and then jumping off camera to re direct it was an amazing experience but it would not have been successful without a patient and supportive cast and crew. Picking the right team is essential to the shoot being a success, especially if you are juggling multiple roles.
Why do you feel stories like this are important?
Community, identity, sub culture and representing working class stories are all things I feel hugely passionate about putting on screen. The experience I had with my debut play Moorcroft was a majority working class audience who had never been to the theatre before, seeing themselves represented onstage and therefore feeling a sense of pride and importance. Everyone should be able to see their stories in the spotlight or on the big screen and feel that same sense of importance. Where I grew up feels like it is far from a film set but I wanted to turn it into one. The character and stories these places hold are unmatched. As I grow and work through my career, I really plan on continuing to champion the stories, people and places I grew up and make them feel they are worth being the main part. Northern soul has been there for me my whole life. Through the highs and lows. That dance floor has seen tears of happiness, sadness, grief, heartbreak, falling in love. You name it, those floorboards have felt it. The community in the soul scene is just incredible. People from all different life experiences coming together and letting loose on the floor. The fashion, music, scooters, tattoos and more are a total way of life for so many people. I have met some of the most interesting, kind, funny people at soul dances. Capturing the feeling this community creates and showcasing that on screen has been a dream come true. This is my love letter to the people and scene that has given me so much.
What are you hoping for audiences to get out of your film?
To want to get up and dance. To hug your family and friends that wee bit tighter and to remember how important your sense of self is. No matter what life throws at you or where you go in this world, you never forget where you come from and the people who helped you along the way.
What was the greatest hurdle you encountered whilst shooting, can you tell us how you overcame that?
Music! We have been on a wild journey to find the final dance track for our film. Northern Soul records are rare and in order to use them in a film we were looking at a huge amount of money which on a small budget was totally unachievable. We found really creative ways around this by looking at up and coming artists and bands within the scene and through this created amazing relationships with musicians who were excited about the idea of having their track feature in the film.
What piece of advice would you give to someone looking to apply for Sharp Shorts?
Give your heart and soul to your application. Your passion for the story you want to tell is essential in making your application stand out. The first draft of my script was miles and miles of a shooting draft but the whole point of the program is to learn and develop so don’t think you have to have everything totally worked out and perfect. Your ideas will change and grow as you learn and that is a magical thing. Embrace others ideas and also hold your vision as an artists. Those tow things work hand in hand. Good luck and as we say in the soul scene, keep the faith. Now go make some cool art!
Photo credit: Conor De Ath
When did your interest in filmmaking start and what were you doing before you became a filmmaker?
I remember when I was 7 or 8 years old, me, my sister and my cousin would run around with the family camera and make films and sketches, so I guess filmmaking has been a passion of mine as far back as I remember. But as an adult, filmmaking has always been important to me in expressing myself and my views on the world around me. It is a tool for my curiosity but also for connection to and with other people. I am constantly developing my relationship with film itself not just as a creative tool, but always trying to push the boundaries of how much more ethical, intersectional and political it can become behind and in front of the camera.
What made you want to apply for Sharp Shorts?
Since moving to Scotland, applying to Sharp Shorts has been something I kept looking forward to doing every year. Dreaming of the specific film you want to apply with is always an open road with endless possibilities that always filled me with excitement and imagination. When I thought of the idea of The Key which was in my mind for the last couple of years, a film that felt very personal and urgent in its subject matter, it made me very excited and passionate at the prospect of making it come to life and specifically through the Sharp Shorts scheme, the most exciting opportunity of making short films in Scotland. Their track record of supporting exciting and diverse stories from Scotland, made me feel confident that a story about a Palestinian-Scottish family would be embraced.
Tell us a bit about your Sharp Shorts-supported film.
My Sharp Shorts film is called The Key and it’s my first commissioned short film. It has been a passion project of mine the last 3 years and has been inspired by my Palestinian grandparents from my mother’s side. The Key is a magical realism film that explores personal and collective grief through the main character of Linda, a Scottish-Palestinian woman who, when returning to her late and estranged father’s house, discovers that her younger self has appeared in order to guide her back to her childhood memories.
What did you learn through taking part in Sharp Shorts? How was your experience working with the Short Circuit team?
Even though I am still in the process of concluding the film, I keep feeling that I am constantly learning tremendously every single day by working with everyone around me from every single person in the crew to the team in Short Circuit. Both Iria and Miriam, as the Short Circuit Talent Executives have been extremely supportive of my vision, have shared a lot of their time discussing the film from draft one of the script to this post-production stage and also have given me extremely valuable insight on storytelling in general. Also, both Rachel and Balenji have been extremely friendly faces to have around Short Circuit and always have been very supportive around anything logistical and have provided support by organising great masterclasses and exciting in person events.
What was your creative process? How did you get ready to make your film?
As the film came from a very personal place, the initial core of the process has been an emotional one but throughout each stage of writing the script and working with all the crew during pre-production, shooting and post production, I always try to get input from everyone involved in order to make the film a product of each single person of the team. In this specific case, as a process, I am trying to always re-work the film based on the material, the environment and the moment in we live in. I think only then, a film can feel fresh in its execution.
Why do you feel stories like this are important?
I feel stories like The Key expand the conversation on how diverse Scottish and British identity can be on screen. Having written a Scottish Palestinian story inspired by my own Palestinian grandparents, I want to question the specific idea of home, either as an immigrant myself here in Scotland or for people fleeing war and conflict as my grandparents did. I also felt I wanted to explore an issue as widely known and politicised as the apartheid of the Palestinian territories and the mass displacement of Palestinian people as well as their communities in the diaspora, through the most intimate lens of connecting with your own childhood self through grief and understanding. If one person in the audience feels seen while watching the film that otherwise wouldn’t, I will be extremely happy.
What are you hoping for audiences to get out of your film?
This is always a tough question to answer as I am always open to each person’s interpretation of the film and I feel it is the only part of the film process you as a director actually can’t have control on, which I try to embrace as much as possible.
What was the greatest hurdle you encountered whilst shooting, can you tell us how you overcame that?
The biggest hurdle I encountered was the pressure of time during shooting which never feels like it’s enough. I do believe that this specific restriction has been extremely beneficial to the creative process but that specific moment when you are choosing which shots you need to keep and which you need to discard and edit the whole film in your mind in the span of 5 minutes with just an hour till the last shooting day ends, can be quite a stressful but still an exhilarating experience.
What piece of advice would you give to someone looking to apply for Sharp Shorts?
What I would recommend to anyone applying is to think of a story that nobody else could direct other than you. Something that feels extremely personal but not necessarily autobiographical. A story that feels urgent to share with everyone, a story that creates the feeling in your gut that keeps you awake at night and won’t let you go till the story gets seen on the big screen. I would also recommend everyone to think of something ambitious in its ideation but grounded in its creative approach, something the reflects the world we live in or a specific pocket of that world, something political but still emotional, personal but universal.
The Key was funded and supported by our Sharp Shorts scheme, which is open for applications until Monday 29th May 2023. Find out more and apply now.
Photo credit: Robert Pereira Hind and Simone Pereira Hind
When did your interest in filmmaking start and what were you doing before you became a filmmaker?
ALI TAYLOR: I’ve always wanted to write for film and TV but I’d no idea how to get into it. I got a job as a copywriter in advertising and worked in that industry for years and years becoming creative director but still I wanted to make the move to drama. I found out about BBC Writersroom and got a few radio drama commissions, then did the MA in TV Fiction Writing at GCU when our youngest started school. I also got on BBC Scottish Voices, the Young Film Foundation and the inaugural Writers’ Lab UK & Ireland. All of this was life-changing.
MICHAEL LEE RICHARDSON: A lot of people talk about wanting to be a writer since they could hold a pen, but that’s not my story. I actually didn’t write my first script til I was 25 – I sort of knew, theoretically, that people wrote for film and TV, but it had never really occurred to me that it was something I could do, something for someone like me. I was the same with directing, I think I thought you had to go to Director School or get knighted by another, more experienced director or something, and that’s just not been my experience at all. Before filmmaking I did all sorts of things, and I was a youth worker for ten years, which definitely came in handy working on Just Jackie!
What made you want to apply for Sharp Shorts?
ALI TAYLOR: Since my MATV and getting an agent, I’m building TV credits and seeing stuff get to screen which is fantastic. Developing your own work in TV can take a long time. What I thought was wonderful about Sharp Shorts is that it was the chance to write something original, showcasing your own voice, and have it produced within a year with their help and support. I’d seen other Sharp Shorts and been really impressed so decided to go for it.
MICHAEL LEE RICHARDSON: I don’t think I would have applied if it wasn’t for Ali! When she sent me the idea, I fell in love with it – it’s such a sweet story, and I could see so much of myself in it, I just really, really wanted to direct it! I had worked with Short Circuit before on my first feature script, A Good Spell, which shares a lot of themes with Just Jackie, and they’ve been so supportive, I felt like I’d be in safe hands with my first film of this scale and scope (and budget!).
Tell us a bit about your Sharp Shorts-supported film.
ALI TAYLOR: Just Jackie is about a plus sized, nine year old boy who likes sweeties and dressing up in his mum’s clothes and will do anything to get closer to the girl-next-door. Even, to his health-conscious mum’s surprise, ask for a trampoline. A lot of it was inspired from seeing how my kids and their neighbourhood friends were able to find ways to interact over lockdown, when they couldn’t even play in each other’s gardens. I really wanted to write about a friendship forming over a fence.
JAMES HEATH & REECE CARGAN (Producers): We were struck by Just Jackie from the first read. Ali has written a beautifully warm uplifting script, that still manages to challenge and address a serious subject. Many shorts tackling potentially difficult subjects choose to go down the serious dramatic route – however, most of us can agree events of the last few years have left us tired of heavy stories with limited optimism! Ali’s script takes a story that could be about body dysmorphia and gender identity in young children and makes it this feel-good uplifting story about body positivity – yet still addresses the challenges facing young people, particularly in an image driven social media society.
What did you learn through taking part in Sharp Shorts? How was your experience working with the Short Circuit team?
ALI TAYLOR: Michael Lee Richardson was always my dream director for this. I knew Michael would bring so much heart and vision to this. We entered without producers because, basically, we pulled it all together a night or two before the deadline for the application (not recommended). Michael has worked with the producer Reece Cargan before and I had worked with James Heath, so we all teamed up and it was an incredible, collaborative process. The Short Circuit team were really great. I found the notes on my script made it stronger at each stage. We were also assigned a Script Consultant, Theresa Boden, who gave great advice.
What was your creative process? How did you get ready to make your film?
ALI TAYLOR: I wrote the first draft really quickly and shared it with the team. Then they, Short Circuit and the script consultant gave notes at each stage. I am so appreciative of all their feedback. It was a wonderful progression.
MICHAEL LEE RICHARDSON: Ali’s writing is so rich and evocative, she’s really great at giving you a lot of a character in a really short space of time, and as soon as I read the script I knew where I wanted to take it, into this very 90s bubblegum world with this candy colour palette. I pulled together a couple of reference documents, just photos of stuff that felt like it was in the world of the film, which more or less amounted to a list of films I like and things I thought were cool when I was a kid (The Florida Project, Welcome to the Dollhouse, Eighth Grade; scrunchies, the Pink Power Ranger, inflatable furniture). I loved working with our costume designer Cara and our set designer Gail to bring the world to life. I also made storyboards, and worked on a shot list with Steve Cardno, our DoP. We did quite a few recces just to see the space and figure out how we’d work in it – we actually filmed it in Ali’s house, and she was such a great host! We even did a shot by shot storyboard with Ali’s daughter, Florence, which was really useful to see how the film would look – and really helped me to see things we could cut when, for example, it started absolutely chucking it down during our last two hours on set!
Why do you feel stories like this are important?
ALI TAYLOR: I was really struck by how big a deal the Heartstopper series was to kids – the chance to see a rarely shown, younger skewed queer romance. How powerful it is for young people to see someone like they are on screen. I’d been writing a bit for Children’s TV and am struck that there is still a lack of diversity. I wanted to write a queer film that was joyous and not rooted in trauma and I also really wanted it to be about body positivity and just basically being your beautiful self and accepting of others.
MICHAEL LEE RICHARDSON: I’ve worked with LGBTQ+ children and young people for over a decade now. There’s a huge, often toxic, ongoing debate about trans and gender non-conforming children at the moment, especially in the UK. I was over the moon when Ali sent me the outline for Just Jackie, this sweet and simple story about acceptance and belonging, which centres Jackie’s Jackieness, and highlights the importance of friendship, and the fact that kids so often get this better than adults. It feels like it brings so much light to a subject that’s often all heat. I saw a lot of myself in the story, too – I was definitely that kid singing into my toothbrush in front of the mirror and dressing up to do my own wee shows! – I think a lot of people will see themselves in Jackie.
What are you hoping for audiences to get out of your film?
ALI TAYLOR: I hope it encourages people of all ages to be their beautiful selves and accepting of others.
What was the greatest hurdle you encountered whilst shooting, can you tell us how you overcame that?
MICHAEL LEE RICHARDSON: I was really worried about the casting beforehand – the story is so much about Jackie, and Jackie and Tegan’s friendship, and I knew it would be a lot for a young actor to carry. For Tegan, too, I knew we needed someone who could act who was also comfortable on the trampoline – no mean feat! We worked with casting director Anna Dawson who was so, so great, she got the call out far and wide, and we saw so many fantastic kids. We were really lucky to find Joshua (who plays Jackie), who’s just a wee star – he has such an expressive face, and he really brought Jackie to life! He has to carry so much of the film, and he has so many scenes on his own, and he just took to it so quickly – I’m really impressed by him, I’d love to work with him again. Erin (who plays Tegan) is fantastic – she’s just such a natural, with such a great presence on camera, and when I saw her on the trampoline it just clicked – you don’t even see a tenth of the stuff she can do in the film, she’s so good! Izzy (who plays Mollie) was fantastic, too, a really fab, natural actor, who came in on our last day – absolute madness, with trampolines and pouring rain and 25 neighbourhood kids hopped up on sugary sweeties! – and just got on with it. I’m so impressed by them all.
ALI TAYLOR: The fact that it was shot in our home! The crew were utterly, utterly amazing and my family were really supportive – thanks Mark, Charlotte, Alexander and Florence – and enjoyed being involved.
What piece of advice would you give to someone looking to apply for Sharp Shorts?
ALI TAYLOR: I think it’s really important to think of the story behind the story. Basically, why this story now, why you. In the past it has frustrated me to frame pitches this way. But I really get it now and found it so helpful because it helped me understand exactly what the story was and why it was so important it was told. Even more so, why I could tell it and how I should handle it. Also, get a great team to work with. I couldn’t have been luckier to have Michael, James and Reece and all the crew and cast they found put their all into it. We couldn’t have wished for better cast. Thank you to each and everyone of you as well as Sharp Shorts, Screen Scotland and BFI.
MICHAEL LEE RICHARDSON: I think sometimes filmmakers can shape a project to what they think the commissioner will want – in fact, I know they do, because I’ve done it myself! And while I think you can have a look at previous Sharp Shorts and see what works, I’d tell people to try and put that to one side when they’re coming up with ideas – if your project gets selected you might be spending a year making it, and (you hope!) even longer than that when it’s doing the festival circuit, so you want to make sure it’s something you really love and really want to work on. Will you be happy to watch this film over and over again when you’re editing it? I’d second Ali’s advice to get a good team together – again, you’re going to be working with these people for a while, so you need someone who you trust. Making a film can be a big, mad, stressful, exciting experience, so you need to surround yourself with people you don’t mind seeing your big, mad, stressed and excited self!
Photo credit: Celine Antal
When did your interest in filmmaking start and what were you doing before you became a filmmaker?
I’ve loved cinema since I was wee. I remember being in hospital for a period as I was young and for some reason I became obsessed with the Titanic. So when I heard the film was coming out, I waited and waited. When I got out of hospital, my parents tried to bring me to see Titanic in the cinema, but I was turned away, because I was too young. So I waited and waited and eventually watched it when it came out on DVD. And that’s how I learned about car sex. Thanks James Cameron.
I’ve always wanted to be a filmmaker, and trained in TV production, working in documentaries for years. I was Assistant Producer on Oscar-longlisted and Emmy-nominated documentary Elián, and Irish box-office smash hit 66 Days, and I directed my first feature documentary Bojayá: Caught In The Crossfire, which premiered at HotDocs in Toronto. I began writing and directing for theatre, and with Michael Patrick, I co-wrote the My Left Nut play and BBC Three mini-series, which won several Royal Television Society awards.
What made you want to apply for Sharp Shorts?
Although I’d worked in producing and directing documentaries and theatre, and writing for TV, I had never professionally directed a script drama. I was keen to take my first step into this world and Sharp Shorts seemed like the perfect opportunity to learn and make mistakes, with support from funders. I really wanted to work with writer Ciara Elizabeth Smyth, so when she told me about the idea for SLAY & PREPARE, I couldn’t wait to direct it!
Tell us a bit about your Sharp Shorts-supported film.
SLAY & PREPARE is a psychological thriller/ horror that tells the story of how when a suburban housewife’s world falls apart, she meticulously plans revenge against her husband. Starring Michelle Duncan and Dougray Scott, it’s an exploration of grief, postpartum psychosis, and how we are capable of horrific acts. The film is produced by Lewis Wardrop for White Stag Films, with Executive Producers Anna Burns, Tony Woods, and Dougray Scott.
What did you learn through taking part in Sharp Shorts? How was your experience working with the Short Circuit team?
Sharp Shorts does not just offer funding to make your film, but also regular detailed feedback on drafts of scripts and an intensive course of masterclasses with guest speakers, ranging from roles and responsibilities to casting, locations and storyboarding. Miriam and Iria were incredibly supportive, encouraged us to experiment and challenged us on our ideas, which really helped us to figure out what kind of film we wanted to make. My biggest takeaway was how Sharp Shorts demystifies the filmmaking process. It’s not inaccessible or unachievable – you don’t have to know everything right away. Filmmakers are just a bunch of talented people figuring out how to tell a story in the best way.
What was your creative process? How did you get ready to make your film?
Preparation. Lots and lots of it. I worked closely with writer Ciara Elizabeth Smyth to think about the world of the film and to refine the script. I managed to get a day shadowing Annie Griffin directing the second series of Annika and we worked with Sharp Shorts to find the right producer in White Stag. I researched locations in the Edinburgh area and went out for location scouting days to find the right setting for key scenes. I worked closely with DoP Steve Cardno to create a shooting script and agree on looks, and along with producer Lewis Wardrop, we made several location recces to troubleshoot and figure out how we wanted to shoot it.
Why do you feel stories like this are important?
The film deals with heavy tragic issues such as miscarriage, postpartum psychosis and emotional abuse, and whereas these are usually dealt with through drama or sensational slasher-horror, we wanted to explore them through the lens of psychological horror. The writer, Ciara Elizabeth Smyth, feels passionately about creating complex female characters who are not anchored by societal norms. Systems that support gender inequality focus on cultural stereotypes that rely upon traditional conceptions of the female role, which portray women as nurturing caregivers and passive gentle souls. But what happens when a caregiver no longer cares? What if they never did? Ciara wanted this film to subvert expectations of what it is to be a woman, a mother, a wife.
When we first meet the protagonist Celeste, she is ostensibly a quiet suburban housewife and mother-to-be buying the dinner. But as horrific things happen to her, she perceives her world falling apart and we begin to see that she is not the traditional submissive female, but neither is she a boisterous blood-thirsty maniac or a terrifying paranormal presence. She is a quiet monster that silently feels internalised rage and meticulously prepares her revenge. The film exposes the mundane monstrosity we humans are capable of, and asks what we think monsters look like.
What are you hoping for audiences to get out of your film?
I hope audiences are engaged and that some people are entertained while others are disturbed. Ultimately, I hope the audience feels something.
What was the greatest hurdle you encountered whilst shooting, can you tell us how you overcame that?
It was a really relaxed and positive shoot and we got everything we were looking for and finished on time every day. However, we had to release some actors at given times, meaning we had to work fast and sometimes make creative calls to ensure we got everything we needed. It would have been great to have more time to experiment with the actors and to generate more interesting options for the edit, but you can only achieve so much on a low budget.
What piece of advice would you give to someone looking to apply for Sharp Shorts?
Do it. Don’t doubt yourself. Don’t question if you are good enough. Don’t mistrust your own taste. Just pitch what excites you. Make the film you want to see. If you’re passionate about it, it will come across.
Photo credit: Stuart McClay
When did your interest in filmmaking start and what were you doing before you became a filmmaker?
My interest started as a 13-year-old away back in 1990! I owe this largely to my irresponsible Dad who used to let me stay up late at night watching all the cool, cult and classic films on BBC 2 and Channel 4 while my Mum worked constant nightshift. My first films were stop motion animations. I was also a bit of a shy teenager who found it difficult to express what I wanted to say into words and so to tell stories and to tell them in pictures was just something that I have also loved. Filmmaking has always been quite a spiritual part of my life, I guess.
I’ve led a bit of a reincarnation film journey in that in the mid to late 1990s through the Glasgow Film and Video Workshop movement, I got a loan, and with other filmmaker friends we made zero budget feature films which did quite well around the film festival circuits. This was practically unheard of. I would actually go as far to say that half the industry championed this, and half were appalled by it. Around 2009, I went solo and to be honest found it very difficult trying to make a mark as a commissioned female writer/director. I stuck at it and got my first documentary commission in 2016. This is my first film commission through Sharp Shorts. I’m a working/creative Mum of two, and my career spans from being a care assistant nursing the elderly to teaching and community arts projects.
What made you want to apply for Sharp Shorts?
If you’re not in it, you can’t win it. I think it’s important to apply for every opportunity. I had applied for years to similar schemes as Sharp Shorts and had been rejected, reached the long list but not the short list, and even the first time I submitted to Sharp Shorts, I received a rejection. I guess my passion to keep telling stories made me want to apply.
Tell us a bit about your Sharp Shorts-supported film.
The Jubilee is a stop motion animation and live action short film about Mimi – an old lady who remembers fragments of her life through a cloud of dementia, through the help of Elder her husband, against a confusing backdrop of their 60th Wedding Anniversary party. I wrote, directed, and animated it and it has been produced by Carol Brown. The live action part was shot last summer, and I loved every minute of it. We had a wonderful cast and crew, we finished to schedule, and we have had wonderful support from Ken Anderson at Wild Child and the Team at Aardman in Bristol. The animation is made from paper napkins and the model came from original drawings that my own Mum with dementia drew (she wasn’t known to be artistic) on paper napkins of herself and my elderly Dad. So, in many ways this film is a homage to my parents.
What did you learn through taking part in Sharp Shorts? How was your experience working with the Short Circuit team?
I loved all the workshops which because we were still very much in the pandemic of Covid-19, were done online. I think I attended everyone. I learned so much, even when I thought I already knew it all. I really enjoyed the script development part of it and the peer feedback sessions. I got a lot of support and encouragement from the Short Circuit Team. They helped give me a lot of confidence. I hit a bit of a personal issue with me being delayed due to caring after my elderly parents and then the bereavement as both parents passed away only 30 days apart. The team were first class in giving me the access time that was required and reassured me of additional support like childcare of my two young children to allow me to finish the project.
What was your creative process? How did you get ready to make your film?
Lots of prep, storyboarding, planning out my shots which means when it comes to working with cast and crew, you are prepared for focussing on getting the right performances and shots, and it also means that if you do encounter issues on the day, you can make the right decisions because you have prepared for what you need. I also like to spend a bit of time before hand with cast and crew before any shoot. My creative process also involves listening to music especially when I’m animating and bringing the characters to life. For The Jubilee, I listened a lot to Percy Faith and his Orchestra to get that 1950s/60s mood.
Why do you feel stories like this are important?
My story is about the elderly and dementia and these lost voices, especially written during the pandemic when the elderly did seem so forgotten about are important. It’s a very different take on what it’s like to have dementia and what it is like to be a loved ones also living with it through the person suffering from it. It’s about the power of memories and helping someone feel like themselves again through these memories. It was important to me that telling this story, that the elderly wasn’t seen as dull and dressed in grey cardigans. When I first left school, I worked as a care assistant, caring for people with dementia. The people I worked with had personalities and strong characters even though diminished by this awful illness. When I first met Tina Gray who plays ‘Mimi’ I told her this and I asked her how she would feel dying her hair pink for the part. She totally got where I was coming from and jumped at this. I think she’s several times gone pink since the film.
What are you hoping for audiences to get out of your film?
I’m hoping that the audience will be immersed by the playfulness and watch the film just as the same way Mimi is experiencing the moment. I hope that they will be moved by the story.
What was the greatest hurdle you encountered whilst shooting, can you tell us how you overcame that?
The first hurdle was just 5 days before the live action shoot of the film. Andrew the DoP tested positive for Covid and it became apparent that he couldn’t do the shoot. The cast were already in place and only had a certain timeframe of days available but because I had spent quite a bit of time with Andrew, months prior to the shoot, he was able to get a DoP on board who he felt could achieve what I was looking for in a quick turnaround. So, the shoot was postponed just by a few days and Leon was amazing. Luckily because I was also shooting the animation, Andrew was able to come back on board again.
Andrew set everything up for the animation, and the puppets where all done and in place and just days later my elderly Mum and Dad needed a lot of care. My Dad became ill and died, and then my Mum died 30 days later. It was quite a blow. The shed where I was animating had its doors shut over for over 3 months and when I went back to it (in the winter) I walked into a big ball of mildew. The puppets had to go in the bin, and everything cleaned down. It was like starting from scratch. However, I decided to start again, and this time I started off with a simpler idea for the puppet and it actually worked out so much better. The process had more creative freedom. At least I think it did.
Animating in the shed during the winter was tough but I wrapped up warm and the lights warmed the place up quite a bit. Animating also takes a lot of patience but even more physical resilience with the repetitive moves that times you feel like you’ve been hit by a bus. A good pair of trainers and stretching exercises afterwards and listening to music to unwind after a day’s animating helps.
What piece of advice would you give to someone looking to apply for Sharp Shorts?
Absolutely go for it. Go for every opportunity that you can. For years, I was rejected on similar funded schemes and even the first time that I applied to Sharp Shorts, I wasn’t successful. But it’s the classic saying, you have to be in it to win it. My key advice would be to really enjoy and embrace the development side of you and your project, that’s where all the fun is. And I’ll say it again, go for it!
