When writing your script how reflective did you find it, did you have any apprehensions about some of your own personal traits coming through your characters?

 

Ben: While the script is not based on my own personal experiences, I think I put a bit of myself into every character I write. I try to write what I know and in doing so, of course some of my own traits come through in the characters.

 

When you wrote BOY was it always your intention to direct the project as well?

 

Ben: It was always my intention to be involved in the direction of the film, however, from early on in pre-production, I brought Ruth onto the project as my co-director with faith that she could effectively help me bring the story to life. 

 

How soon in the process did you come on board, and what was it about Ben’s screenplay that connected with you so much?

 

Ruth: Ben approached me whilst in the process of developing the script. Even from the early stages of ‘BOY’ I could tell that this is an important story to share. The way Ben expresses himself with such rawness and depth allowed for a very personal element to be brought to the process, and I believe our closeness as siblings helped us to attain that depth. 

 

What was the process like co-directing BOY together, are there plans to work together again?

 

As co-directors, we work effectively and efficiently, bouncing off of each other well. We hope to continue working together, with the caveat that Ruth is working full time as a resident doctor in Yorkshire so has more limited time. Nevertheless we are in talks about how to continue this partnership in a way that fits both of our schedules, likely in slightly different roles.

 

What’s the trickiest scene for you to shoot?

 

The trickiest scene to shoot was definitely the staircase sequence towards the end of the film as this was a one-shot scene following the characters through the house. Knowing this, we scheduled a lot of time to shoot the scene, giving us the space to experiment with different shots.

 

How early in the process of making BOY did Umberto Gaudino and Aleksandra Vilcinska come on board to work with you on the music?

 

Gaudino and Vilcinska joined the project halfway through post-production with a clear vision that perfectly complemented our ideas for the composition. 

Once you started shooting how close did you like to stick to the screenplay?

 

We stuck quite closely to the screenplay throughout the shoot, other than the final scene where we played around with the closing conversation of the film. 

 

What was the message you wanted to say with BOY, and do you think you’ve achieved that?

 

With BOY, we wanted to expose what it’s like growing up gay in a world that promises acceptance but often fails to provide it. With modern dating and hookup culture, and the expectations put on us by ourselves and others, it can be easy to fall into situations like Danny’s. We do think this comes across in the film, depicted in the mismatch of Danny’s desire for sex and his hesitation in going through with it. 

 

What positive steps do you think could be taken to sex education evolving in a way that better reflects contemporary experiences?

 

We think it’s more than important for sex education, especially in schools, to reflect all kinds of relationships, straight and not, teaching young people how to engage in activities safely. When sex education does not reflect the person it is aimed towards, it can only lead to confusion like Danny’s. Sex education policy is, and has always been, a topic of contention. We hope that BOY will contribute to the current conversation around how we teach children about sex in a way that keeps them safe and not confused. 

 

Have you always had a passion for filmmaking?

 

We have always had a passion for films but filmmaking has been quite a recent endeavour for both of us. While Ben has a background in writing, Ruth has won awards for her direction of amateur dramatic theatre. When we started collaborating back in April 2025, it felt right and as though we both brought what was needed to the project. 

"we’ve definitely learnt to take as many takes as we possibly can! Otherwise, the largest lessons we’ve taken from this have been about managing and directing the cast and crew."

How much does your background in theatre help guide your approach to directing narrative short film projects?

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Ruth: Although filmmaking and theatre share similarities, directing BOY was a new experience for me. Unlike theatre, which centres around a long rehearsal process with the performers, film relies more heavily on pre- and post-production, working with cinematographers, producers and editors. I believe my experience working so closely with actors in the past was useful, allowing me to form quick rapport with our cast. My ethos as a director has always been to prioritise creating a safe and supportive set for the whole team, as I feel that’s an environment that encourages people to thrive. I have also choreographed and workshopped intimacy scenes for the stage which was particularly valuable for BOY. 

Looking back at the journey you’ve been on with BOY, what would you say have been the most valuable lessons you’ve taken from this?

Well, we’ve definitely learnt to take as many takes as we possibly can! Otherwise, the largest lessons we’ve taken from this have been about managing and directing the cast and crew. We received a lot of positive feedback about the atmosphere of our set and we hope to bring this to future projects. 

And finally, what do you hope your audiences will take away from BOY?

We hope our audiences will have a better understanding of what it can be like for young men growing up gay in the modern age, and how sex education is an important factor in shaping their experience. Similarly, we hope people understand the nuances of an encounter like Danny and Mark’s a little more, seeing it as more than simply a predator-prey dynamic, and rather two men struggling with their identity.