An experimental, abstract film showcasing the graphic design of vintage matchbox art through both animation and sound.

Hi Lauren, thanks for talking to TNC, how is everything going?

Everything's great! Very busy but great.

Match is part of the Anny selection what does it mean to be bringing your film to Cannes?

This is an amazing opportunity at this early stage in my career, I can't believe I'm actually attending the festival, let alone bringing my film there.

This is your debut film, does this add any additional nerves ahead of the festival or are you just taking it all in your stride? 

I'm incredibly nervous - I haven't even finished university yet! I never anticipated something like this happening so early in my career, particularly with my debut film.

What do you hope to take away from your time at Cannes?

Primarily I want to have a good time, and hopefully, I'll make some good connections along the way. This is a big opportunity for me to present my film and my experience out in the industry, so I hope to make a good impression for future opportunities.

Can you tell me a little bit about Match, how did this film come about?

I loved the boxes, and translating that love into visuals pretty much ran away with itself. I spent a lot of time experimenting, reworking bits, rethinking - I feel like that goes hand in hand with experimental animation, and I loved every second of it.

What was it about the graphic design of matchboxes that inspired you to make this film?

I've always had a love for vintage graphic design, mainly due to the time and care that went into the product advertisement, and I have a bit of a collection myself. So much information is crammed into such a small space, each trying to stand out more than the last.

"Sometimes, it's just better to leap into a pile of boxes and let them do the talking."

What was the most challenging part of bringing Match to life? 

Finding a way to use the boxes to express everything I wanted to put across. I experimented with actual matches but, in the end, the actual movement and feel of the box itself were what pulled me along.

What have been the important lessons you've taken from making Match?

Sometimes, it's just better to leap into a pile of boxes and let them do the talking. As long as you start something, it'll always work out in the end.

Have you always had a passion for filmmaking?

Ever since I was a kid, I've loved making things. Something within animation struck me at some point - realising that I could make what I made come to life. Animated films have always struck more of a chord with me, and stop-frame is just everything I've ever wanted to do.

Is there any advice you've been given that's stuck with you?

Not really advice, but when I was 8 years old, I was sat watching the behind the scenes of Coraline documentary with my dad and I asked him "can I do that?" and he said, "you can do whatever you want to do". Years later, when we were walking through the HP Studio Tour, he pointed at an exhibit and said "is this what you want to do?" and I said something like "I would kill to do this kind of work" and he just looked so ecstatic that I knew I made the right choice - I mean, how could you not be happy at Harry Potter Studios? 

Do you have any advice you would offer a fellow filmmaker?

Be passionate about what you do. Never underestimate the power of support.

And finally, what do you hope people will take away from Match?

I hope audiences can feel a sense of nostalgia for the matchboxes. An older audience may remember collecting the boxes, and a newer audience may be interested in graphic design from another era.