Over the last few weeks I’ve been working closely with Emilie Levienaise-Farrouch, all round wonder-woman, but most relevant to A Responsible Girl, an excellent composer.

Emilie and I worked previously on my short Not Now Pet a heightened reality Christmas comedy, which featured Guinea pigs, a water dragon and a grandfather who may or may not be Father Christmas. But that was some years ago and I’ve been hoping to work with her again if I got the chance.

As we’ve been cutting ARG, Miikka and I have been using a variety of temp tracks a lot of which we’re from artists on the Warp label. While these added a disturbing yet delicate atmosphere, one of Emilie’s first comments was that they felt very male and it’s true all the artists I’d chosen are men. Whilst the temp tracks were very beautiful, a “disturbing yet delicate atmosphere” is not quite enough to get us into the character of Rosemary and to align us with her predicaments, ARG needed a feminine essence to be carried through the film.

I’ll write a little more about the process of working with Emilie on the music in the future, but in the meanwhile. Have a look at her website and soundcloud.


From the preposterously prolific Mr Neil Gaiman: “Remember: when people tell you something’s wrong or doesn’t work for them, they are almost always right. When they tell you exactly what they think is wrong and how to fix it, they are almost always wrong.” Which, unfortunately, is not the quote as I remembered it as I was composing this blog post. Anyhow, if someone can lend me some twine I’ll tie a link that holds up to half a glance of scrutiny.

If you’re lucky enough to find yourself in the position of directing a story that is yours, then your only job is for you to tell that story. Great, so far so tautological.

More twine please vicar… You have just watched your 8 minute master piece with a close circle of trusted film colleagues. There’s a pause for for stretching as the lights come back on and you wander up to the front and say, so what did you think? And the flood gates up and you are inundated with thoughts, ideas, outrage… anything. And every single one of those notes is correct for that person- if they were directing the film.

What is going on here? As a viewer we are always trying to work out what is happening on screen, compiling data and telling the story to ourselves in our heads. When watching a work-in-progress, in a effort to be helpful, people are especially sensitive to any road bumps they experience in this storytelling process. After viewing the film they then consciously or unconsciously thread these speed bumps together to rework the film for how it would work best for them.

Sitting there at the front of your trusted filmmaker colleagues, in addition to managing all your own doubts and defensiveness,  you have to work the information coming at you through two filters: 1) their special sensitivity 2) reworking as their film.

The special sensitivity can be dealt with quite simply: listen to a group of people, don’t let anyone person dominate the conversation, play people off against one another, take notes and then try to work out which speed bumps are relevant to your story and which ones are only relevant to the story everyone else is telling.

The reworking filter mostly has to do with the solutions people offer up. It’s easy to say that you should just put a big fat red line through all of them, but you’ll piss people off and you might miss something good. So you need to go through each and every one and consider it and the problem it is purportedly fixing. Then if you agree that it’s a problem, it’s your job to come up with a solution that fixes it, which might be the solution suggested, but probably won’t be.

So why do this? I’ve always found that sitting in a room with a group of people watching your film is the closest you can get to viewing your own film with fresh eyes and after weeks of editing, you need that. You need to be tested, you need to see if the story you in your mind is making it into the minds of the people watching it. Because if it isn’t, you aren’t telling your story and as a director, you aren’t doing your job.

So we've been a way for a while… The summer and then some. It's now truly autumn, or that's what the trees in Dumfries are telling me. Anyhow, what's happening with the film? Well, I've just finished editing it, so here a few thoughts…

Having done all the prep work for A Responsible Girl (henceforth ARG, because I'm lazy) we managed to shoot pretty much exactly the script… Every shot I'd wanted and a few extra for good measure. Fabulous, one would think, all you need to do is put your shots in order as planned and hey presto, there's your film… Arghhh, help, god, no!!! Doing this would entirely miss the creative point of editing.

Of course this is true, I've lost count of the times I've heard “we made it in the edit” or somesuch equivalent, but what does this mean? Over the last couple of films I've worked on I've come round to the idea (not sure if it's original) that: Scriptwriting is writing what you want to shoot and editing is writing what you want to see. The fact that you are making one out of the other is the only “causal” part of this relationship, everything else is contingent and based on the ideas of the creative team involved.

Let me abuse an anolgy by way of explanation. There's an apocryphal story that when Michaelagelo was asked how he created his statue of David, he replied: “simple, I found a block of marble and cut away everything that didn't look like a David.” This is an interesting way to think about works of art for many reasons, but I'm bringing it up here is that I think of the writing and production as creating the block of marble and editing as the cutting away.


Obligatory Slate shot:


Jay Taylor (Producer)


Tilly and Jen talk over the scene


Boom Operator (Libero Colimberti)


Jen rehearses steadicam shot


Steadicam shot from the monitor




Jen Again


Kirsty ( beautician) and Tilly


A couple of Jenduring the bedroom scene

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Associate Producer Angelique Talio


Jen in the Boy’s bathroom

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Ben Smith (Focus Puller)


Ewan Mulligan (DoP)



Last shot of Jen


We’re tweeting live from the shoot on @sanecinema blog updates at the end of the day.